I anticipate that this post will be unpopular. I acknowledge the contention that my assertions will certainly prompt and welcome the scathing comments in the section below. With that being said, I still very must feel that my perspective is worthy of articulation and exposure to those that care to listen.
Singer and R&B legend R.Kelly made headlines this week for allegedly assembling a sex cult consisting of underaged girls. These allegations bear a disturbing connection to R. Kelly’s previous trouble with the law, portraying Kelly as a an OJ-like figure–a haughty recidivist who finagled through the loopholes of the American legal system.
I feel obliged to state that I have no respect for R. Kelly as a man. I do however, respect his talent. I perceive the ‘Pied Piper’ as an enslaved black who used America’s need to hyper sexualize the black man as a means to foment his career. While Kelly defiantly made family friendly songs like “Step in The Name of Love” and inspirational songs like “I Believe I Can Fly” and “The World’s Greatest” most of Kelly’s hits are sexualized slow jams to which I’m sure proved background music to the conception of many post millennials. His sexualized image fueled a career spanning over two decades with a plethora of adoring black female fans.
These fans remained loyal to Kelly even after a video surfaced of the singer issuing a golden shower to a then-fifteen year old girl. The charges were eventually dropped and buried in the past of a musician who was still able to maintain his mogul stature despite dramatic changes in the music industry.
While my argument is not to pardon R. Kelly from blame, it is that he is not the primary cause of the hyper-sexualized black female body that faces violation without consequence. R. Kelly was relieved of any legal responsibility in previous allegations of sexually violating a black female teen simply because the black female body bears no significance to the Western world outside of monetary gain. Consider how quickly the western world kills and incarcerates the black body. The reason why Kelly was not susceptible to these consequences is not because of his riches, but because his “crimes” served an integral purpose in maintaining white supremacy. Moreover, the world was and is more interested in portraying Kelly and his victim as sexual beasts than to upholding the integrity of those they do not see as a human let alone bearing the presumed innocence of femininity or childhood.
To the western gaze, the hyper sexuality of the young black female body violently seduces Kelly. To this same gaze, Kelly is a sexualized being unable to resist the callings of his bestial urges. Together, these caricatured images of black sexuality function assemble the historical narrative of blacks as primitive and underdeveloped beings worthy of the death and incarceration that befalls them.
Kelly, a melanated individual who believes his conventional success consummates his transition to whiteness, feels as entitled to young bodies as the white man did and does to young black females. Kelly, is a symbol of what happens when a morally impoverished black youth offsets a journey to acquire physical wealth and not a collective consciousness. As members of an oppressed collective, it is essential that we proceed with consciousness. To proceed without it, is to inevitably mirror our oppressors in thought and action.
There is also a large possibility that this ordeal is entirely fictional, and yet another means to lynch a black man by the rope of hyper sexuality. But the verity of these accusations does little to supersede its societal function. The scenario depicts how the black man and women are commonly pitted against one another and how the black male is villanized for implementing what he was nurtured to idolize—white male ideology.
The teachings of white supremacy are second nature to anyone not possessing a conscious gaze. I read The Bluest Eye by Toni Morrison, a few years back and was mortified at what Pecola’s father does to her on the kitchen floor. I resented Morrison for years, holding her in contempt for depicting the black man as indifferently robbing his child of her innocence.
It took me several strides into consciousness to realize that the father was a man systemized and nurtured to become an animal, a subjugate human who performs the dirty work of his master in his oppressed state. This is not an excuse, as his actions are detestable and hard to read, yet even more difficult to process as a factual fate rendered to so many blacks throughout the diaspora silent in the shame of their systemic violation.
Kelly symbolically stands in the same image of this fictional black man who encompasses the factual narrative of so many other black males castrated by earthly demons who program the black body to inflict white evil onto their own people.
Kelly’s actions function to lure black women from blackness into the arms of feminism–yet example of society’s dedication to turning racist issues into sexist issues to further the cyclical disenfranchisement of blacks by hurling our struggle into oblivion. A second offense by a black praised for his prodigious talent, serves another blow to our collective identity alongside similar allegations afforded to other black greats like the late Michael Jackson, Bill Cosby, Kobe Bryant, amongst others. These allegations function to fuel white esteem and denigrate black collective worth in staining the black psyche with portraits of themselves that seemingly lack a moral compass.
So, to those quick to compartmentalize a black man as a sexual villain— I would like to redirect your attention to the words of the late and great Malcolm X:
“If you’re not careful, the newspapers will have you hating the people who are being oppressed, and loving the people who are doing the oppressing.”
To what contempt will you hold a system that upholds the systemic soiling of black female bodies?
To reiterate I am in no way excusing Kelly, but evoking a sense of nationalism to assert that we as a collective have been wronged by a system that lures us to incessantly blame ourselves but seldom confront the true villain and sole benefactor of global racism.
In closing, the power of blackness lies largely in realizing if and when we are being played. So while we may not be playing chess, our systemized state as blacks bears a close resemblance to a king being used to seize the most powerful piece of the game–his queen.
Article by CC Saunders
We must take the unequivocal position that if the Black race is to perish,the world must perish with us. Blood debts must be repaid in blood. We must never accept money and privileges as repayment for the mistreatment of our people. The past Black generations who suffer for no other reason than the color of their skin must be avenged not because of hate but for justice.
This is a picture of Khalid Muhammad and rapper Tupac Shakur. Any black person that has a way of reaching the youth is seen as a threat to the white supremacy social structure. Muhammad was a powerful speaker that could touch the youth. And of course Tupac was the son of a Black Panther. Tupac had the ear of millions of fans of all races. But by being a great speaker he could get black people motivated as a collective. If Tupac was allowed to live he could’ve been a great leader. He already had the pro-black influence as a child. They were both seen as threats to this racist,corrupt white society. Which is the reason they’re not here anymore.
I almost did it. I selected a theatre and even looked up showtimes. As I began to mentally assemble my outfit and rework my schedule to accommodate viewing the film, I realized that I was all too familiar with this story.
Wonder Woman is yet another page in the consistent white female narrative designed to portray white beauty intertwined with an earthly anglicism. I need not see this film to know that it will portray the white Woman as the catalyst for all things good in a “bad” world.
Contrary to the ideally nurtured in the western world, the bad is seldom blatant. Both the individual and the collective have a fair chance at combatting that which they can see. The true “bad” in the world lies in Wonder Woman-like figures, whose embedded message seeks to uplift through depicting the very exclusivity that dominates the western hemisphere.
Wonder Women debuts in a climate that veils this exclusivity with the implication of “change.” Seemingly every film and television series has adopted the feminist agenda, avidly if not aggressively, feeding this fictive utopia to the masses. The film exists to promote feminism as the cure to all worldly evils, omitting of course that feminism is a worldly evil. Clad in a form-fitting costume with long and silky dark hair, Wonder Woman encompasses the conventional sexiness of a blonde with the rarity of a red head to project feminism as the height of femininity. Wonder Woman is a dark haired, dark- eyed white Woman–the pseudo “every woman” in seeming to encompass lightness and darkness simultaneously. What the casual gaze may fail to see, is that Wonder Woman resembles her target audience, and encompasses all her acquired audience wishes to become. Her dark hair provides a strategic contrast to her fair skin, painting the “Wonder” of wonder woman as encompassing the figurative light to societal conflict or darkness.
The wonder in Wonder Woman is that she embodies the antidote to all the world’s problems. She’s Helen of Troy mixed with Hilary Clinton–a savior to white women but a mortal enemy to the woman of a darker hue.
Western childhood functions similar to this film, painting the white Woman as Wonder Woman in far less attractive variants. From the abundant white female school teachers, to the tooth fairy, Mrs. Claus, every princess from Cinderella to Snow White, the white female body is a consistent figure of humanity to the western gaze. These figures function to embed into the black female psyche what “Superman” and “Batman” seek to implement into the general western psyche–that if you are white, anything is possible.
But as the young girl who reads these stories, attends these schools and watches these figures on television grows up, the fantasy of Wonder Woman vanishes into reality. Instead the harsh world eventually prompts the once naive black body to wonder what was ever wonderful about these pristine figures of their childhood. Although portrayed as the hero in fictive and real scenarios, the white woman is gradually unveiled as an inevitable villain to the black female body.
So, as a black woman, I know this film functions as erasure. I know this film functions to seduce me into a amnesiac state where I falsely separate white female action and intention from white male supremacists. From the white women who chase our black men than scream rape when it goes sour, or objectify our wealthy black men as cash registers, or reduce the quotidian black man to his genitals, to the white women who abrasively target black women at work, back to the very white women who tormented the black female slaves—this movie functions to force the black psyche to accept a white hero, despite centuries of white female villainy.
White heroes, whether male, female, trans, or what have you, are never capable of saving anyone but themselves. For healing is incompatible to the autocrat, who decorates their lives with the blood of the oppressed.
Therefore, the true wonder woman will never occupy a leading role in mainstream film. She probably will never make six figures and is unlikely to rouse a shallow gaze on the street.
The true wonder woman has probably yet to arrive home from her twelve-hour work-day, her twenty-four hour job as a mother, or full- time victim of white supremacy. The true Wonder Woman sleeps at night with a six-figure debt heavy on her conscious from daring to dream outside of the confines of systemic oppression. She walks through a neighborhood of businesses owned by any and everyone but those who look like her. She faces ridicule for her skin tone, her nose, and curvy body and faces countless queries if her beauty or attributes are deemed outside the scope of blackness. The true wonder woman is literally and figuratively raped, never respected, or rewarded. She is frozen in time, pieces of her flesh still floating throughout the Atlantic Ocean, or concealed in an unmarked grave beneath a skyscraper. She is dismembered by a system who uses her limbs to assemble their privilege and writes their laws in her blood.
She is the unspoken gospel of this poached land—the original statue of liberty—the feminine mold to which every race, ethnicity, and creed stealthy covets.
The Wonder Woman film exists to place the “wonder” into the woman concept. As a being excluded from this concept, I replace wonder with “black.” For the black woman does not need wonder, she is wonder. Furthermore, members of the black female collective need not go to the movies to view this fictive wonder woman—they must simply look in the mirror.
Article by CC Saunders